Every time I see these extreme fat fetish pics, I wanna redline them and draw their skeletons to see what they’d look like.


Skeletripe: Creepypasta criticism

Here’s my other blog.

If you read my art critiques, check out my creepypasta crits!

Okay I’m done shilling now.



All of their gallery is just horribly drawn Rarity X Applejack pictures.

The perspective on this is making me confused. Also rarity why is your snout perfectly angular. Source: deviantartwhy
Photo Set

Another Post on Colors

Look at this ugly wolf. This is a great example of an artist with a bad grasp of color. Not only are the wolf’s markings ridiculously complicated but the colors go together about as well as Tom Preston and humility. We have hot pink on bright violet, two colors that neither contrast or compliment each other well, we have lime green and MS paint default yellow as well and there’s no reason for all these colors to be mixed in haphazardly, this is not an animal, it’s a Lisa Frankenstein’s monster.

Compare with the below painting by Anthony Ausgang. He uses bright, vibrant colors, but since he’s an actual professional artist, he knows how to use them intelligently. The dance floor is teal and purple, a nice combination. The two dancing cats are well rendered, having a simple effective palette. They have colorful markings that make sense for their species and the way the dancing crowd behind them is rendered is quite clever and visually interesting. They’re not the focus of the painting so they’re all just one shade of color but they’re all distinct colors with distinct poses, giving them a degree of identity and bringing the dance party scene to life.


Jay Naylor: Manly Man


And now for bad character designs. For this post, I am going to define a bad character design as being ugly, ridiculous, or unsuited to the character and the character’s role in the work as well as clashing with the overall setting.

There will be five examples. Then I will go back to good designs on part 3.

One for the money

Two for the blow

Three to get drawing 

Four to start already.


Figure 1: Marche from Final Fantasy Tactics Advance.

FF Tactics Advance was a good game in general, but the character design was just embarassing.

Marche here is a boy sucked into a fantasy world so his face and proportions above the waist are alright (more on that later). However, his outfit is where things get silly. He has no armor save for pauldrons strapped to the shoulders of his hoodie and what look like giant coins sewed onto the elbows and his boot things. He is apparently wearing thigh-length buccaneer boots with regular shoes over them them which is puzzling.

If those things are leggings or long socks, then what’s the deal with the big fringes at the top? What purpose do they serve? And he has two harness straps over his shorts with an odd card holster thing hanging from one of them. The holster thing looks like one of those fake Native American relics you buy from New Mexico tourist traps. His hips and legs don’t look like they fit.

The hips are too big, too round to be a guy’s hips. Men, even boys tend to have more narrow-squarish hips. I fully understand that the FF series tends to have androgynous character designs for the males, but unless the character is meant to be easily mistaken for the opposite sex in the narrative, then their sex should at least be easily identifiable as male.

I’m not getting a flamboyant, early European fashion- vibe from Marche here, I’m just getting the impression that Square-Enix’s artists are under the impression that young boys have child-birthing hips and shapely legs. Back on his outfit, it lacks any cohesive theme or aesthetic. The details of the outfit don’t serve to help convey any image or personality, they just look like they’re there to fill space for the sake of filing space. Marche is intended to be a young warrior but he doesn’t look the part. His weapon is the worst though. What is that thing? It’s called a ‘sword’ in-game but it doesn’t look like any sword anybody has ever used. It’s almost as big as Marche is, doesn’t look like any weapon, be it sword or axe, and it really just looks like an alien surfboard.


Figure 2. Jack, Fate/Stay Whatever

This character is supposed to be Jack the Ripper. Yes, the same Jack the Ripper that committed those extremely violent and misogynist murders in Britain. The Fate/Stay series, being utter shit by every metric of quality, from its storytelling, its characters, and its use of stats that have no bearing or influence on anything, has decided to make its version of Jack the Ripper a little pre-pubescent girl for the reason of getting the coveted ‘Japanese pedophile’ demographic to buy the games.

Let’s start with the outfit. The real Jack the Ripper committed most of his murders in 1888. Jailbait the Waifu here does not evoke late-1800’s Britain. She is not wearing anything remotely period-accurate, and if you’re trying to design a character inspired by a real killer from a real part of history, then if you are competent at all, you will take visual cues and fashion from that era and make something interesting. Since nobody at Type/Moon is competent, they just dressed her up like a Ginsu knife wielding child prostitute.

And there’s the matter of her face and proportions. Her face conveys no sense of menace, fury, or hatred, which are things a design for a serial killer need. Jailbait the Waifu here just has a vacant, emotionless expression that makes her look like a mannequin in a clothing store catering to child molesters.

Her body shape and proportions are very sexualized, despite being a fucking little girl, This is un-necessary and creepy as hell. This is not the design of a violent murderer. This is a design of some pathetic shut-in’s pretend girlfriend.


Figure 3. Ragyo Kiryuin

Try not to laugh, but this is what the big antagonist of Kill La Kill looks like.

The first thing I have to say about this is that her design absolutely does not fit her character or her role in KLK’s story.

She is set up as a tyrannical figure, an oppressor and political puppetmaster. Yet, she looks like a clown hooker.Let me explain. There’s nothing inherently wrong with a clown motif for an evil character, but the design motif should fit the character’s personality. Kefka made the garish clowny look work because he was set up as a complete lunatic who commits atrocious acts of violence for his own amusement and the clown theme worked with his total disregard for other people’s lives, it served as a visual statement that told players that Kefka was not only insane but insane in a childish way, that he saw other people as playthings. The same can be said of The Joker from the Batman comics.

Ragyo here, is not that kind of antagonist. There’s no part of her personality or role in the story that makes her rainbow circus woman design appropriate. She acts like a scheming queen or noblewoman so dressing her up as Rainbow Brite’s creepy aunt makes no sense. 


Figure 4. Warchild

Rob Liefeld is low hanging fruit but whatever.

Warchild here is hilarious. It’s like the jokes about Liefeld’s art became real.

First, what’s the deal with that headgear? It offers less protection than a helmet, it doesn’t mask his identity. It’s a completely pointless and extraneous part of his outfit that would be better off made into a regular mask. And also, note the just-as-pointless goggles. 

His face looks ghastly, like it got burned off with napalm and the only face donor the hospital could find was a baboon with mange.

And what’s with all the leather straps? There’s so many of them and none of them fulfill any design purpose. One on each wrist would make sense, keeping the arms from being too simplistic and dull, but he’s got four of the damn things on his leg and all it does it draw attention to his ken doll crotch. The bandolier and pouch-belt is so big that it looks sort of comical. Also, all those weapons on his back do nothing but clutter an already badly congested design.

This design is everything wrong with 90’s era comic art in one handy ,jpg file.


Figure 5. Luso.

This, in my opinion, is the single worst character design in the Final Fantasy series.

Not only does it do the same things wrong as Marche’s design but it’s also a cluttered, ugly mess.

There’s no coherent theme or motif here, just lots of useless details slapped on like this guy bought his wardrobe at a thrift store that got hit by a tornado. There’s a four-leaf clover badge, some kind of weird overalls-type garment over a sleeveless suit with rolled up cuffs wider than his waist.  Funnel-topped high-heeled shoes. A green shash, dinner plate elbow pads, sleeves unconnected to his shirt, A belt that looks like it’s about to slide off at any moment with what looks like fifty pounds of gear hanging off it in a saddlebag and a bright red backwards cap with a silver badge on it.

There’s no indication to what he’s supposed to be, he’s supposed to be an adventurer but that outfit looks impractical to wear to an art gallery, let alone do high-fantasy adventuring.

This entire design reeks of horror vacui, an aversion to leaving empty space that results in cluttered, overly-intricate and ugly designs such as this one.


Chainsawsuit manages to smack down Zen Pencils’ bullshit in the most perfect way


Yes, let’s.

Despite what the greasy, egotistical tryhards of Deviantart would tell you. Character design has rules to it. These rules are well established, nearly-universally agreed upon by actual professionals in the field, and are based on simple truths in design.

Let’s use a visual aid. I’m gonna put out some examples of good character design and then I’m going to show you some examples of bad character design. Then I’m going to compare them to explain why the good design works and the bad design is a thing of shame.

Let’s begin.


FIGURE 1. The Mega Man 2 Robot Masters


These guys are a classic example of good character design. Take a good look at them. Notice the colors used.They show an excellent understanding of color theory. Quick Man, Heat Man and Metal Man’s designs make use of red and yellow. These are warm colors, which works for Heat Man, The colors are complimentary while still being distinct. the use of yellow in key places breaks up the red used in the majority of Quick Man’s design while still meshing nicely with it, creating a dynamic design that effectively conveys his status as the speed demon of the 8.

 Metal Man uses colors similar to Quick Man’s, but they are used differently. Red and yellow are distributed in a more even way, as opposed to Quick man’s theme of predominately red with yellow accents. The red used on Crash Man is more of an orange-ish hue that compliments the saffron yellow parts and contrasts the white of his legs and waist, as well as the green gem on his chest. 

Air Man and Flash Man’s designs use a mix of blue and yellow, which provide a nice contrast to their designs. Bubble Man uses colors that flow together like green and yellow and blue, with a red chest gem to provide a dash of warmth and contrast. Wood Man is done up in earth tones which suits his name and design.

In addition to the use of color, notice that most of their designs take cues from objects found in life. Heat Man has a flip-up lid like a zippo lighter and the yellow stripe on his head is segmented to look like the lighter’s striker wheel. Wood Man is based off a cypress tree with a thick trunk and the top of his head is made to look like a cut-down tree’s stump. Air Man has a fan built into his chest and due to how close it is to his eyes, it looks like a big open mouth, which is a very clever touch that gives him a lot of character. Bubble Man has a diving mask, air tank on his back, and flippers to make him look like a Scuba diver, which fits with the overall aquatic theme.

Flash Man has sections on his arms and a portion on the top of his head that are designed to look like a camera’s flash bulb. Quick Man has an angular V-shaped crest on his helmet and diamond shaped plates on his knees and these angular, symmetrical elements give a dynamic, flowing feel to his design. Crash Man has a pointy visor that reminds one of a bomb squad technicians helmet and the drills on his arms further accentuate the sharp, angular, menace of his design. Crash Man looks like a dangerous combat machine and that is what he his. The designs are colorful, creative, and memorable.


Figure 2. Crocodile, One Piece

One Piece is a manga with some truly great and imaginitive characters and Crocodile is a great example of how to design an antagonist. Immediately upon looking at him, you know that he’s based on a mafiosa, which perfectly fits his role in the story and his personality. His design carries a sense of menace, but also a regal aloofness. Note the fur coat draped over his shoulders like a cape and the designer suit. This fits his character as a powerful figure in the criminal underworld. The colors used are mostly secondary colors, with the coat’s dark green contrasting nicely with the orange vest and blue tie. The scar running across his face is a nice touch, effectively conveying that he is a powerful and experienced combatant. Another thing, look at how he is proportioned. One Piece’s style is more cartoony and exaggerated than most mangas and Crocodile here is an example of stylized anatomy done right. He has broad shoulders, a triangular torso, a broad neck and face with distinctly Italian/Mediterranian features. He’s a caricature of a crime boss which fits him and his role in the series very nicely. Also, his big golden hook hand is a cool touch when you remember that most mafia members aren’t subtle in the least when it comes to displaying their wealth. You know the boss of a pirate mafia would wear something that awesomely gaudy.


Figure 3: The Mario Brothers.

Mario and Luigi are the ur-examble of great character design in gaming. Mario was developed in the early days of arcade gaming so the crude graphical technology of the time forced Nintendo’s designers to make every aspect of his appearance a carefully thought out decision. They gave him overalls so his arms could be made clearly visible on his 8x8 pixel sprite. His big nose and mustache were added to give him a face, and the cap was added as a final touche to cement his role as a everyday workman thrust into the role of hero. From then on, his design had remained more-or-less constant over the years with just his proportions and body shape changing over time. His earlier incarnations were stocky and almost dwarven in proportions, while his current design prefers soft, rounded shapes to make him look friendly and nonthreatening, which is a must for any character intended to be a mascot.

Luigi is also an interesting case of good design and art evolution. He was originally just a palette swap of Mario as was typically in the early days of gaming. As time went on and hardware improved, Luigi’s design was changed to differentiate him from Mario. Compared to his brother, Luigi is taller, his limbs are lankier and thinner, his body and head are comprised of elongated ovals and even his overalls are a deeper, more indigo color than the bright blue of Mario’s overalls. This design fits with how Luigi is portrayed in recent games. He lacks Mario’s confidence and his movements are clumsier to offset his higher jumps. He is a sidekick and a comic relief while still being good at what he does. As simple as their designs are (color coded shirt, hat, overalls, brown work shoes) Mario and Luigi are instantly recognizable ,very memorable, and their design meshes perfectly with their role in the games and that is the highest measure of success in character. This is an important lesson for all you would-be artists and designers out there. When it comes to details on your character design, go with quality over quantity. This is why Mario and Luigi are so beloved and why Nomura’s recent Final Fantasy designs are very rarely mentioned outside of jokes at Square-Enix’s expense.


Figure 4: Ed, Edd, and Eddy

If you were a child in the US and Canada in the 90’s and early 2000’s, you remember these guys. Ed,Edd,n’Eddy in general has some of the best art direction in televised animation. The show employed an expressive, caricaturish style with vibrant colors. The three Eds are an example of this design theory. Each Ed boy is designed in a way that suggests their personalty. Ed is given wide-spaced eyes a unibrow to give his face a vacant appearance, his posture is slouched and his proportions are very lanky and loose. His green jacket goes well with the red and white horizontal stripes of his shirt and these details help the viewer to notice his tall, tube-like design. You take one look at Ed and you know he’s the dumb muscle of the trio.

Edd has a round head on a very thin body, his facial features are comprised mostly of round shapes to give him a soft look. He is the physically frail brains of the group, and he has a delicate-looking design to match.

Eddy is the shortest of the three and his mouth is almost always drawn large and pronounced. He has only three very long strands of hair on the top of his head which, along with his short stature and stocky torso, gives him sort of a cockroach or insect-like appearance,which fits him. Other details such as his wallet chain, and the rings of pale skin around his eyes are nice little touches which further gives an already vibrant design more personality. His shirt is bright yellow with a red stripe and purple accents, which fits his loud, prideful character.

His design has a subtle sleaziness to it, which fits his role as the inept hustler and schemer of the gang.

Figure 5: Batman

Batman is one of the most famous and beloved superheroes ever. His design is notable for being in sharp contrast to the usual superhero outfit. While most supers dress in bright, flashy colors, Bats suits up in black, gray, dark blue, and other muted colors that fits his stealthy approach to crimefighting as well as the overall bat motif. His costume is elegantly simple, cowl with pointy ears, bat symbol, briefs over gray tights, gloves and boots and a cape. It’s a simple, effective design that has remained largely the same over the years. The muted colors of his design also mesh with his morose, brooding personality. He was a dark and moody superhero long before dark and moody superheros became fashionable. His mask is designed to emphasize his big lantern jaw, and his overally physique is comprised of hard shapes. He’s a rough, no-nonsense guy and his design displays that.

In part two, I will be going over some examples of bad character design.

Photo Set



I’ve been asked a lot about how I draw hoods, mostly Talon’s hood, so I hope this helps a little? Just a pretty basic thing but hey there ya go

Hoods are pretty cool, they usually have a lot of variety in how they can look (and sometimes people even wear two hoods at once) so just get creative with it and have fun


(via hamsterfox)

Source: runescratch

Controversial opinion time:

If you have a deviantart, furaffinity, or any other art site account and you block comments on your submissions, you are a coward.

If you intentionally build or allow an environment on your webcomic’s forum that is openly hostile to criticism and dismisses it as trolling, you are a coward.

If you send your fans out to attack someone for criticising you, you are a coward.

This is as plain a truth as you can get. Criticism is just a statement, it cannot possibly do any real harm to you as a person and it has the chance of helping you grow and develop not as an artist, but as a person in general.

And if you are so scared of this that you try to shield yourself from it through either blocking people or sending your ass-grabbing yes-men after the heretic who offended you, you are a coward. There is no exception.

This is how the world works: You make something and you put it on the internet. This also means that you are making your work open to discussion and commentary on it. This means that you will eventually be criticized on your shortcomings. If you shut out the criticism, then you can kiss any chance of getting better or getting good at all goodbye because you have made open, honest dialogue between artist and viewer impossible.

Jay Naylor: you are a coward and a manchild because every time anything about you is criticized, you throw a tantrum, block the person, and then crawl back into your little hugbox. If it weren’t for the fact that furries will literally masturbate to anything, you’d be on the street selling blowjobs for gas money.

Soulkat, IDFox, Chalo: You are cowards for cultivating a toxic, enabling atmosphere on your forums where any statement even remotely negative about your precious furry webcomic is shouted down as trolling. You never defend your work yourself, you let your little social lampreys do it for you. You are not even successful by regular standards, you have to beg your fanboys for money to keep your site up, You are artistic parasites. 

AkuOreo: You are a coward because you’re not even big enough to respond to any criticism the first time. You block every statement that isn’t asskissing and then you go back to charging 80$ for elementary school level artwork.